GV 851 
.C58 
Copy 1 




1 










THE SKATEBS' COMPANION. 



A Comprenensive Instruction Book full of Useful Hints 



ROLLER SKATING, 



6 



BY 

MARVIN R CLARK, 

AUTHOR OF ' ' THE SKATERS' TEXT BOOK," ETC. 

/ 






NEW YORK : 

E, J. HALE & SON, Publishers, 

66 & 68 Reade Street, 

1885. 






Copyright 
1885. 



INDEX. 



The Roller Skate, 

Dress of the Skater, 

The Congress of Skaters, % 

Programme of the American Congress, 

Elucidation of the Programme, . 

First Steps in Skating, . 

The Plain Glide,^" 

The Edges, _ — . 

The Outside Edge Glide Forward, ^ 

The Inside Edge Glide Forward, 

The Plain Backward Glide, ^~. — *~ 

The Outside Edge Glide Backward. 

The Inside Edge Glide Backward, 

The Lap-foot Guide, 

The Cross Glide Forward, 

The Cross-Glide Backward 

The Change-of-edge Glide, 

The Balance Leg, 

The Threes, 

Flying Threes, 

Spread Eagles, 

EL 



ae Bishop Eight, 
On to Richmond, 
Locomotives, 
Serpentines, 
Change of Edge, 
Grape Vines, 

The Philadelphia Twist Vine, 
The Double Philadelphia Twist 
The Flying Scud, 
The Mercury, 
Combination Movements, 



ROLLER SKATERS' COMPANION, 



Roller skating is the particular exercise which brings 
into play most of the muscles without any attendant 
contraction of the other muscles or functions of the 
body, and is undoubtedly the most healthful and ben- 
eficial. 

But in addition to being the most healthful of 
exercises, the art of skating is the poetry of motion. 
It imparts grace to the figure, pliability to the limbs, 
strength to the muscles, vigor to the sinews, activity 
to the blood, roses to the cheeks, and develops the 
human system most thoroughly and delightfully. 

It may be said further of skating, that it has less 
objectionable surroundings than any other enjoy- 
ment, and may be called one of the polite arts. 

It is within the recollection of many when the 
roller skate was invented, but only recently has it 



been brought to a degree of perfection. The skate 
has made the skater and given to the science the 
popularity it so richly deserves as an innocent and 
healthful pleasure. 

The first roller skate of note was that invented by 
Pettibled, which was introduced in France in the 
year 1819. A more practical invention was that of 
Robert John Tyer in the year 1823. This was denomi- 
nated a " parlor skate," and consisted of a rigid foot- 
plate with rubber rollers underneath, arranged in a 
straight line. 

It was upon this crude skate that Jackson Haynes 
made his reputation in this country and his fortune 
in Europe. But since then thousands of improve- 
ments have been made, until the present perfect 
roller skate has supplied the wants of the skater and 
enabled him to perform upon the floor those graceful 
movements that were once confined to the ice alone. 
Now the roller skate is knowm and appreciated in every 
civilized country on the face of the earth. 

THE ROLLER SKATE. 

The Roller Skate is mechanical. Upon a properly 
made floor the curves cannot be forced, and a circle 
once struck, if continued to its completion, will bring 
the skater to the point of departure with remarkable 
accuracy. Therefore the movements may be per- 
formed with more precision upon the rollers than 




3 

upon the ice skates. The advantage of the roller 
skate over the ice skate is that the skating surface is 
always ready, and does not de- 
pend either upon the season or 
the fickleness of the weather. 

The clothing of the skater 
should permit of the utmost 
freedom of motion. A closely- 
fitting laced shoe is preferable, 
although it is not essential. The 
shoe should not be laced so as 

to prevent the free play of the ankle. The heel should 
be broad and not so high as to throw the skater upon 
his toes. If the shoe becomes too loose, pads over 
the instep will remedy the difficulty. 

A BEAUTIFUL ART. 

Nothing in the nature of motion can be more 
beautiful than skating, and when by the proper observ- 
ance of simple directions, such as are imparted in this 
work, it is made easy of accomplishment, no excuse 
can be given for failing to attain proficiency in the 
art. 

It may be remarked that timorousness is the greatest 
obstacle the skater has to overcome, but frequent 
practice and careful observance of valuable hints will 
take the skater to perfection in due time. 

Nearly twenty years ago a Congress of American 



skaters was called, and the result was a programme 
comprising the rudiments as well as many com- 
binations of the fundamental principles of skating 
which has ever since been adopted by skaters in 
matches and is worthy the attention of the -learner, 
because it may properly be called the ladder which 
must be climbed by progressive steps toward per- 
fection. It is given here with a comprehensive inter- 
pretation of the movements as an opening to the 
simple directions following. 

PEOGRAMME OF THE AMERICAN SKATING 
CONGRESS. 



I. Plain forward and backward movement. 

2> Lap-foot, as in field step and in cutting a circle. 

3. Outside edge roll, forward. 

4. Outside edge roll, backward. 

5. Inside edge roll, forward. 

6. Inside edge roll, backward. 

7. Cross-roll, forward. 

8. Cross-roll, backward. 

9. Change - of - edge roll, forward — commencing 
either on outside or inside edge. 

10. Change - of - edge roll, backward — beginning 
either on outside or inside edge. 

II. (a) " On to Richmond," that is, cross one foot 
in front of the other, and w T ith back stroke, outside 



edge, go backward, (b) Reverse " On to Richmond," 
that is, going forward by forward outside edge, stroke 
given alternately behind each leg. 

12. "Locomotives," forward, backward and side- 
ways — single and double. 

13. Waltz steps. 

14. Spread eagles, inside and outside edges. 

15. Figure threes . (a) Beginning inside or outside 
edge; on field and in eight; including the "flying 
threes." (b) Double threes, beginning inside or out- 
side edge. 

16. Grape-vines; including " Philadelphia twist." 

17. Toe and heel movements; embracing pivot- 
circling, toe-spins or pirouettes, and movements on 
both toes. n 

18. Single flat-foot spins and double foot whirls. 

19. Serpentines, (a) Single foot — forward and 
backward, right and left. (6) Following feet — for- 
ward and backward, right and left; in "two foot 
eight." 

20. Figure eight on one foot, forward. 

21. Figure eight on one foot, backward. 

22. Changes of edges, single and double. 

23. One foot loops, inside and outside edges; simple 
and in combination. 

24. One foot ringlets, inside and outside edges; 
simple and in combination. 

25. Specialties; embracing original and peculiar 
movements. ' 



6 

26. General display of combined movements, at the 
option of the contestant. 



EXPLANATION OF THE PROGRAMME. 



1. Plain skating — glide not as long nor as much 
curved as in the roll. 

2. Any step in which one foot is " lapped " over the 
other, the skater being carried in a circle either to 
right or left. 

3. A long, curved glide on the outside edge of the 
skate, on alternate feet, forward. 

4. A long, curved glide on the outside edge of the 
skate on alternate feet, backward. The edge may be 
slightly changed at the end of each glide, so as to get 
a favorable start on the other foot. 

5. A long, curved glide on the inside edge, altern- 
ate feet, forward. 

6. A long, curved glide on the inside edge, altern- 
ate feet, backward. 

7. A curved glide forward, outside edge, crossing 
the balance-foot over the other and placing it upon 
the surface in this position. 

8. A curved glide backward, outside edge, crossing 
the balance-foot behind and to the other side of the 
other, placing it upon the surface in this position pre- 
paratory to a glide, 



9. A double curve glide forward, beginning on 
either edge and changing to the other edge, making 
the glide on each edge of the same length. 

10. A double curve glide backward, beginning on 
either edge and changing to the other edge, making 
the glide on each edge of the same length. 

11. (a) A movement giving the appearance of walk- 
ing forward but really moving backward. (6) A 
movement giving the appearance of going backward, 
while in reality the skater is going forward. 

12. Any peculiar movement by which the skater 
can counterfeit the clatter of a locomotive. 

13. Any movement in the execution of which the 
skater goes around keeping time to the music of the 
waltz. 

14. Movements executed with the feet in a straight 
or slightly curved line, heel to heel or toe to toe. 

15. (a) Movements by which the skater turns on 
one foot from forward to backward, or backward to 
forward, forming the figure three. (6) A double turn 
forming two threes joined. 

16. Movements in which the skater turns from for- 
ward to backward and backward to forward again, 
keeping both feet on the ice and crossing them before 
each turn. 

17. Done on the heels or toes or on the flat of one 
skate by the aid of the toe or heel of the other. 

18. Impossible on rollers. 

19. (a) A movement by which the skater goes in a 



8 

serpentine course on one foot without touching the 
other to the surface, (b) A movement by which the 
skater goes in a serpentine course on two feet without 
lifting either foot from the surface. 

20. A figure eight executed on one foot forward, 
without touching the other to the surface. 

21. A figure eight on one foot, backward, without 
touching the other to the surface. 

22. A movement on one foot in which the skater 
changes from one edge of the skate to the other edge, 
without touching the other foot to the surface. 

23. Executed on the toe of the roller skate, forming 
the figures of loops on the surface. 

24. A one-foot spin on the toe in roller skating, 
leaving the figures of circles marked on the surface. 

25. Original steps and combination movements. 

PREPARATORY STEPS. 

A few simple directions comprising valuable hints 
which should be carefully observed are given in this 
work. 

The novice should begin by standing erect upon 
the skates with the heel of the right in the hollow of 
the left foot, the body leaning slightly forward, the 
arms gracefully reposing at the sides, the eyes gazing 
at an object well in advanqe, the legs touching each 
other, shoulders thrown back and the chest expanded. 

Feel your skates carefully, and never look down at 
your feet. Nothing will throw you out of balance 



9 

so quickly as casting even a furtive glance at your 
skates, and it invariably gives you an ungainly 
appearance. 

FIRST WALK. 

You must walk before you can skate on the rollers. 
To accomplish this feat it may be well to claim the 
assistance of a friend. Walk once or more around 
the floor. Not until you have thoroughly accus- 
tomed yourself to the " feel" of the skates by walk- 
ing should you attempt to skatel Go slowly and walk 
mechanically, keeping the body well over the advanc- 
ing foot, remembering that the foot must be under 
the body or you will lose your balance and fall. 

When familiar with the bending of the foot-plate 
ytfu may venture to glide. But you must go slowly. 
Almost unconsciously after walking a short dis- 
tance you will commence to glide. Remember to 
"make haste slowly" or "pride will have a fall." 
As you gradually get into a glide, calculate your dis- 
tance and do not neglect the left foot ; let the glide 
on tbe left be as long as that on the right foot. As 
soon as possible dispense with assistance and depend 
upon yourself. You will never have confidence in 
your own ability until after you have discarded all 
support ; besides which, dependence upon another 
will hinder you materially in learning. 

When you have thoroughly accustomed yourself 
to the peculiar motion of the roller skate in your 
walking movements, essay the next step. 



10 



THE PLAIN GLIDE. 

Stand firmly upon your skates with the heel of the 
left near the toe-joint of the right foot, the weight of 
the body resting upon the left foot 
jP and leaning slightly forward, the left 

shoulder advanced. You are now in 
position to advance upon the left foot 
which you will do by pushing with 
the right foot, gradually — slight force 
will carry you forward. Make the glide 
short and as much as possible upon 
the flat of the foot. Keep the body 
over the foot and slightly in advance. 
Bring up the right foot so that the heel 
of the right faces the toe-joint of tlie 
left. Lean the body over on the right, 
carefully, and advance upon the right, 
pushing gently with the left, and make 
a short glide. Continue this move- 
ment until confident of being able to 
perform it with ease and grace. 

Some pupils are more apt than others 
and may be able to accomplish the 
' 'walk" and the "plain glide " in one 
evening. Therefore no rule may be 
established governing the time to be 
occupied in acquiring these rudiments ; but ordinarily 
one hour or more should be spent in walking upon 



The Plain Glide. 



11 

the rollers and gaining a mastery over the motion 
of the skates. The second day should be occupied 
with the " plain glide." 

You will notice, particularly, that your skate has a 
tendency to run away from you. Keep your body 
ivell over your skate and slightly advanced in the 
direction in which you are skating ; if upon the right, 
with the right shoulder advanced ; if upon the left, 
with the left shoulder advanced. 

The non-performing foot should he carried behind 
the other, ready to be brought into action when re- 
quired and not before. Do not swing the leg that is^ 
free from the floor. Let the performing foot and leg 
do its whole work. 

Perfect every movement before attempting the suc- 
ceeding one. Take time to do this and regard it as 
time saved. If you neglect to perfect yourself in 
every movement as you proceed you will find it 
necessary to go back and learn what you have neg- 
lected. Pay every attention to the rudiments of 
skating ; they are the alphabet and must be per- 
fectly learned. 

THE EDGES. 

After becoming proficient in the plain forward or 
flat-foot movement, the edges should next be studied. 
The Outside Edge of the Roller Skate is so called 
because it leads to the outside on either foot by bear- 
ing and throwing the weight of the body upon the 



12 



outside in the act of describing a 
segment of a circle. The Inside 
Edge is thus named because it leads 
to the inside by the act of bearing up 
on the inside of the skate and throw- 
ing the weight of the body upon the 
inside while performing a segment 
of a circle to the left of the right or 
the right of the left skate. 

The Outside Edge Glide, when 
properly executed, is the most grace- 
ful movement that can be performed 
upon skates. Many attempt it. Few 
succeed. It has been called the 
" Dutch Roll." It is not difficult 
of accomplishment if properly com- 
prehended ; but it should be care- 
fully studied. 

It is performed, remember, in a 
curve or a segment of a circle. The 
first attempts must be in short 
curves which, after constant practice, 
may be increased in length until a 
semi-circle and then a circle of a 
greater or lesser diameter is de- 
scribed. 

To be gracefully executed the 
movement of the feet must be 
studied as well as the position of 

T G?id?, u1 PomSdf evei> y p° rtion of the bod y- But the 




13 

position must be natural and not strained, the figure 
pliable, the limbs swinging easily and every step easy. 

THE OUTSIDE EDGE GLIDE FORWARD. 

I. Stand with the heel of the left foot opposite the 
toe joint of the right. The right is to be used as 
the propelling power in starting. After the start the 
balance of the body will become the propelling 
power. 

II. Lean the body carefully upon the left foot, the 
left shoulder slightly advanced, the eyes gazing to the 
left at an imaginary center of the circle, a segment 
of which you are about to describe. 

III. Push with the right foot, lifting it from the 
floor and immediately carrying it behind the left as 
you start upon the left to describe a curve to the left. 
Let your body be well over the performing leg and 
do not fail to have it slightly advanced over the cen- 
ter of gravity. 

IV. Let the arms depend gracefully at the sides. 
Care should be exercised not to clutch the fingers or 
throw Out the arms from the body, and the non- 
performing leg must be kept behind the other until 
ready to be brought into action. 

V. At the. end of the curve upon the outside edge 
of the left foot a slight change to flat foot should be 
made in order to bring the body upright. Then, 
before the completion of the glide, bring forward the 



14 

right foot carefully so that the heel is opposite and 
close to the great toe of the left foot. 

VI. Rest the weight of the body upon the right 
and well over, the right shoulder advanced to the 
right, the eyes gazing to the right at the imaginary 
center of the circle. 

VII. Describe a curve upon the right foot, carrying 
the left foot behind the right. At the end of the 
curve bring the body up erect and start again upon 
the left continuing the movement. 

The knee of the performing leg should be very 
slightly bent. It adds elegance to the movement and 
gives force to its execution. Do not drag the non- 
performing foot after the other because it has an 
ungainly appearance ; but let it be carried gracef ully 
with the knee slightly bent and always ready for 
action, a little behind the ankle of the carrying foot 
until near the end of the curve, when it should be 
brought carefully around until in position for the 
start upon the other edge. It should be remembered 
that the body must be almost erect but leaning 
slightly forward, the sho alder inclining" toward the 
center of the curve, the head turned in the direction 
of the curve and the eyes looking at the center of the 
circle. 

THE INSIDE EDGE GLIDE, FORWARD. 

Although not regarded as particularly graceful the 
inside edge movements are essential to every combi- 



15 

nation and must be accomplished. 
They are much more difficult than 
the outside edges and when poorly 
executed give the body an ungainly 
appearance. There is a dash and 
abandon to the outside edge glide 
whether forward or backward, but 
there never can be to the inside edges. 
Still these edges must not be neglected. 
On the contrary they must be care- 
fully and perfectly learned, perfection 
in the movement detracting materially 
from the ungraceful positions which 
the human figure must necessarily 
assume. 

This movement is done wholly by 
the balance of the body. 

I. Start with the toes turned slightly 
in, the body inclined to the right, the 
eyes gazing over the right shoulder. 

II. Raise the right foot and carry it 
behind the left ankle ; push gently 
forward with the right foot, gliding 
upon the left and describe a curve to 
the right on the inside edge, lifting 
the right from the floor after gaining 
the momentum. 

III. Carry the right foot forward so 
that the heel of the right will be 
opposite the heel of the left. At the In8id f r E wfrd GUde 



16 

end of the glide turn the head toward the left 
shoulder, throwing the weight of the body upon the 
inside edge of the right foot. The weight of the body 
thus thrown upon the skate will give the proper 
impetus. 

IV. Eaise the left foot and carry it well behind the 
right, gliding carefully upon the inside edge of the 
right foot. Continue this movement, gradually in- 
creasing the arc. 

THE PLAIN BACKWARD GLIDE. 

This is executed upon the flat of the skate 
and on either foot, describing the same 
figures upon the floor as in the plain glide 
forward. Preparatory to attempting the plain 
backward glide upon either foot the old move- 
ment called "sculling" should be accom- 
plished. This is done mainly by power of 
the hips and the motion of the shoulders. 
To use a homely but comprehensive term it is 
executed by ' ' wriggling " the feet first in one 
direction and then in another. 

I. Stand with the toes of the right foot 

turned toward the left and well in front, the 

body upright, over the center of gravity. 

„ II. Force the right to describe a small arc 

3 slightly on the inside edge of the skate 

which will carry it behind the left, the left following 



17 

in a parallel curve slightly on the outside edge, and, 
while gliding, force the left skate to describe a small 
arc slightly on the inside edge, and the right to move 
parallel slightly on the outside edge. Continue this 
" wriggling " motion without lifting either foot from 
the floor. 

After this movement has been thoroughly practiced, 
essay the plain backward glide. Stand erect, with 
the heel of the right foot near the hollow of the left. 
Push gently with the right in order to get sufficient 
impetus upon the left, and glide slowly backward 
upon the flat of the left skate in a straight line, bring- 
ing the right foot, after the push, in front of the 
left and holding it there, easily, until near the end 
of the glide, when it must be ready to be brought into 
action. Then place it upon the floor carefully, 
slightly back of the left, let the weight of the body 
rest upon it, bring the left foot suspended in front of 
the right, and in like manner glide upon the flat of 
right skate, and continue. Remember that the non- 
performing leg must be carried IN FRONT OF the other 
and as gracefully as possible. 

THE OUTSIDE EDGE GLIDE, BACKWARD. 

When properly executed, this is accounted the most 
dashing movement upon skates, although its execu- 
tion is not necessarily attended with any more risk 
than the forward glide upon the outside edge. Study 



18 

always to do this, as well as every other movement, 
without apparent effort. When performed with ease 
and the grace that can readily be thrown into it, the 
sensation to the skater is delightful, 
and to the beholder a pleasant sur- 
|( prise. 

I. Stand erect, but with the body 
leaning slightly backward and to 
the left, the heel of the right foot 
turned toward the left and slightly 
in advance. 

II. Look over the right shoulder 
and push slowly with the right 
foot to gain an impetus, while you 
strike out upon the outside edge 
of the left skate, carrying the right 
foot opposite the heel of the left 
clear of the floor. In this position 
execute an arc to the left. 

III. At the end of the glide, the 
knee of the carrying leg being 

\Nv slightly bent, come up on the flat of 

the skate which will bring you into 

position for the start upon the right 

Outside Edge Glide, foot. 

Backward. jy ^ ^ weight q{ ^ ^ 

rest upon the right skate, turn the gaze over the 
left shoulder, the figure leaning slightly backward 
and to the right, and strike out upon the right skate 




id 

on the outside edge, executing* a 
curve. Thus continue. 

A little practice will enable the 
skater to execute this movement 
boldly, but remember to lean back- 
ward and over the center of 
gravity. This latter direction will 
seem, at first sight, to be a mistake, 
but practice will demonstrate the 
fact, that in the observance of this 
rule lies perfect safety. 

THE INSIDE EDGE GLIDE, 
BACKWARD. 



Perhaps this movement is not 
always graceful, but it is essential 
to the performance of many com- 
binations and must be learned. It 
is executed wholly by the balance 
of the body and much in the same 
manner as the inside edge glide 
forward, with the exception that 
the head must be turned slightly 
to the outside, and the heel of the 
balance foot carried over the toe 
of the performing foot, the body 
leaning slightly forward. 



Inside Edge Glide, 
Backward. 



20 



THE LAP-FOOT GLIDE IN CIRCLE. 

This is a movement the practice of which is the 
best exercise for the skater at this stage of his progress 
in the art. The reason is that it affords such excel- 
lent practice in acquiring the edges and embodies 
both outside and inside edges on both feet when done 
first to the right and then to the left. 







Lap-Foot Cutting Circle. 

It is performed by lapping or crossing one foot over 
the other while cutting a circle. 

I. Incline the weight of the body upon the outside 
edge of the left skate and make a short glide. 

II. Raise the right foot and bring it well over the 
left, placing it on the floor on the flat of the skate and 
throw the weight of the body on the right foot ; then 



21 

glide upon the inside edge of the right raising the 
left by bending the knee slightly. 

III. At the end of a short glide start again on the 
outside edge of the left skate and thus continue 
moving in a circle to the left. 

When perfect in the movement to the left, practice 
that to the right on the outside edge of the right and 
the inside edge of the left skate. Then learn to do 
the movement backward both to the right and to the 
left. 

The u lap-foot" is deserving of practice, and time 
occupied upon it is never wasted. Study to lift the 
foot gracefully and safely and to put it down well 
over the carrying foot. Let the gaze be directed to 
the center of the circle described with the shoulder 
nearest the center pointing thereat, and gradually 
make the circle smaller. The movement resembles a 
"walk-around", and is amusing when executed by 
several persons following each other, particularly when 
the direction of the leader is varied after a few steps. 

THE CROSS-GLIDE FORWARD. 

This movement is executed by stepping one foot 
over the other and making an outside edge glide. The 
body should be carried as in the outside edge glide, 
the balance foot raised five or six inches while cross- 
ing the other and placed upon the floor on the out- 
side edffe. 



22 



The shortest method of acquir- 
ing 1 this movement is to commence 
by doing the lap-foot movement. 
Take five or six steps to the left, 
then the same number to the right. 
After repeating this several times 
reduce the number of steps to four, 
then to three, then to two, and 
finally to one, and you will have 
the cross-glide forward. 

THE CKOSS-GLIDE BACK- 
WARD. 

This is done materially the same 
as the forward movement, carry- 
ing the head, body, and arms as 
in the outside edge glide backward. 
To learn this movement do the lap- 
foot glide backward, reducing the 
number of steps the same as in 
learning the cross-glide forward, 
and when finally reduced to one 
step each way you will have the 
cross-glide backward. 

THE CHANGE-OF-EDGE 
GLIDE. 

Start upon the outside or inside 
edges upon either foot and either 
forward or backward. To execute the movement 




Cross-Koll, Forward. 



23 




starting upon the outside edge, start on 
an outside edge glide, and having exe- 
cuted a long curve, turn the head from 
the outside to the inside, throw the body 
forward and the balance foot back, 
changing from the outside to the inside 
edge and making a curve, as nearly as 
possible of the same length as that already 
.made upon the outside edge. Execute 
this upon the other foot. 

To perform the movement starting 
from the inside, start the same as in the 
inside edge glide. When about to change, 
throw the head from the inside to the 
outside and the balance foot well for- 
ward slightly across the carrying leg. 
Change from the inside to the outside 
edge of the skate. Do this in the same 
manner upon the other foot and con- 
tinue. 

To execute the movement backward 
starting upon the outside edge, start on 
the outside edge backward and change 
to the inside edge by throwing the head 
and body to the inside and the balance 
foot in front of and well over the carry- change - of - Edge 

ing foot. Do this upon the Other foot Glide, Forward. 

and continue. 

The change-of-edge glide, backward, starting upon 



f/ 



24 

the inside edge, is done as follows : — Start upon the 
inside edge glide backward, and change the edge by 
throwing the head and shoulders to the inside and the 
balance-foot from the front to behind. Do this upon 
the other foot and continue. 



THE BALANCE-FOOT. 

The importance of the balance-foot cannot be too 
highly estimated. By bringing it forward or back- 
ward in the execution of any movement a remark- 
able impetus is communicated in a direction either 
forward or backward. In a spin the carrying leg 
becomes the centrifugal impetus by gradually draw- 
ing the foot toward the center, and in proportion as 
the foot is drawn toward the performing leg the 
momentum of the body is increased. The same, to a 
degree, can be said of the arms. 

It may be remarked that the " balance-foot," as it 
is termed, is the most important factor in skating, 
because it not only becomes the motive power in many 
movements, but it also controls the balance in all. In 
fact, it is to the skater what the balance-pole was to 
Blondin when he crossed Niagara on a wire. Mis- 
applied, a fall will ensue, cautiously directed the bal- 
ance is maintained to a mathematical certainty. To 
be precise, the point of equilibrium is no more fixedly 
demonstrated to the rope walker by his balancing 
pole than to the skater by the " balancing-leg." Let 



25 

the skater make a study of this all-important fact 
and by experience know how to utilize the member. 

THE THREES. 

The movements thus far described are called " field 
steps," because they are done in the field or upon a 






Single Figure Three. 



Single Figure Three. 



large surface. We now come to the ' ' Threes " which 
open what is termed "fancy skating" and are the 
basis of the most beautiful combinations. In their 
execution they comprise both the inside and the out- 
side edges which must be performed in graceful 
curves. 

Of the "figure threes" there are thiee classes, 
namely, the " single," the " double," and the "flying 
threes." 

"Single Threes."— Of these there >.are eight, 
namely : First, right foot, outside edge forward to 



26 



inside edge backward. Second, right foot, inside 
edge forward to outside edge backward. Third, 




Double Three in 
Field. 



Circle Three. 



FJying Three. 



right foot, outside edge backward to inside edge for- 
ward. Fourth, right foot, inside edge backward to 
outside edge forward. 



27 

The same four movements upon the left foot com- 
plete the number of eight "threes." It will only be 
necessary to instruct the skater how to perform one 
of these figures for his guidance in the execution of 
all of them. 

I. Start as directed in the outside-edge-glide on the 
right foot making a short curve. 

II. At the end of the curve suddenly throw the 
head and shoulders more to the right, and come up 
slightly and carefully upon the toe of the skate; 
swing the carrying leg slightly forward then back- 
ward, gently, changing from the outside edge forward 
to the inside edge backward. Let the learner do this 
movement as slowly as possible and let the turn be 
done with care. 

II. The Double Figure Threes.— The "double 
threes" are a combination of two "threes," and are 
performed in the same manner as the " single threes'" 
with this difference, there are three distinct turns 
instead of one ; for instance, starting on the outside 
edge forward the first turn is from the outside edge 
forward to the inside backward ; the second turn is 
from the inside edge backward to the outside edge 
fomvard; the third turn is from the outside edge 
forward to the inside edge backward. 

In executing the "figure threes," either single or 
double, the skater should be careful not to put in an 
extra tarn, as it destroys the symmetry of the figure. 
This he is very liable to do because of the impetus 



28 



frequently acquired in the execution of the figure. 

Notice particularly the effect of swinging the carry- 
ing leg at the turn, and let the 
motion be gentle hut given on 
the instant of turning as you 
raise slightly upon the toe. 

III. The Flying Threes%- This 
is a dashy figure and is performed 
in the field by starting as in a 
plain u three'' on the right foot, 
from that to the left foot, and con- 
tinuing the movement from one 
foot to the other. It is frequently 
done with a jump, although it is 
less graceful, but more dashing, 
and really destroys the figure, as 
may be seen by the diagram. 

SPREAD EAGLES. 

These movements are done heel 
to heel in three ways, namely : 
I., in a straight line, standing 
erect. II., In a curve leaning 
slightly forward, and III., in a 
curve, the body inclining back- 
ward. They may also be done toe to toe. 

It is necessary to the performance of this movement 
that the skater should get his impetus by a few plain 




Spread Eagles. 



29 

strokes upon his skates before assuming" the position. 
It should not be executed "with the knees bent at a 
right angle, " as has been advised in several works on 
skating. Such an attitude is very ungainly and 
makes the movement ridiculously ungraceful. In 
learning the movement the skater will probably find 
it necessary to slightly bend the knee, but this posi- 
tion must gradually be overcome, as the ' ' spread 
eagle " can only be done gracefully in an erect 
position with the legs close together. 

THE EIGHTS- 

4 
Start on the outside edge, glide forward, right foot, 

but instead of executing a curve, "only make a small 

complete circle, then make a complete circle on the 

left skate in the opposite direction, joining the circle 

already made thus forming an "eight." 

This explanation will answer for any of the follow- 
ing, namely : outside edge glide backward ; cross 
glide eight, forward and backward and inside edge 
glide forward and backward. 

Should the skater find any difficulty, as he prob- 
ably will in making a complete circle, for want of 
impetus, he should carry the ' ' balance foot " well 
behind the performing leg until he finds the impetus 
decreasing, when, by swinging the balance foot 
around in the direction in which he is going, he will 
gain sufficient momentum to enable him to complete 
the circle. 



30 



THE BISHOP EIGHT. 

One of the most beautiful of the many movements 





Eight by Four Persons. 



Cross Glide Eight. 






Three in Eight. 



One-Foot Eight. Eight by two Persons. 



done upon the skates, and one which is executed with 
the most pleasure by the skater, either singly or hi 



31 




" Bishop Eight 11 by two persons. 
The dotted linos show course of each skater in second half of eight. 



32 

combination with others, is the "Bishop Eight." 
This movement was first described in the "Skater's 
Text Book " by the author of this work, but inadvert- 
ently an error was made in the diagram presented in 
that work. The error was not discovered until the 
entire edition had been issued, when it was found 
that the figure, as given in the diagram, could not be 
executed. Singularly the diagram, with its errors, 
has been copied, without giving the author or his 
work credit, into every work upon skating, both 
American and foreign, since the publication of the 
"skater's Text Book. " It is given correctly for the 
first time in this work with the compliments of the 
author to those gentlemen whose genius does not 
enable them to make their own diagrams, in the hope 
that they will give this work of the author the credit 
due for some very arduous labor in preparing dia- 
grams which have } occupied many hours of hard 
study- 
To execute the " Bishop Eight " requires a knowl- 
edge of the edges and the " cross glide. 1 ' It may be 
done by one or more skaters, but it is generally exe- 
cuted in combination with others. The description is 
here given as skated by two persons. 

I. Two skaters join their right hands, standing 
sideways to each other, and facing in opposite direc- 
tions^ 

II. Make a small half-circle on the right foot, out- 
side edge, forward. 



33 

III. Turn a three, at the same time changing the 
right for the left hands and make a short curve back- 
ward on the inside edge, right foot. 

IV. Going backward on the outside edge, left foot, 
make a curve and a three, and change to the inside 
edge forward left foot. Execute an outside edge 
glide on the right foot, coming forward up to the 
center and joining left hands. 

V. Put the left foot well over the right as hands 
are joined and firmly on the floor on the outside edge 
and execute a crossfoot glide. Repeat the move- 
ment already described, completing the other half of 
the eight. Figure 16 is the only correct diagram of 
the "Bishop Eight" ever published. The cross-foot 
glide, should always be put in at the point of meet- 
ing, and may be accomplished more easily, because 
each skater assists the other with his hands. 

Constant practice should be given to this movement 
in combinations of two or four persons, because it 
contributes largely to precision and grace in the exe- 
cution of the glides and the threes. 



"ON TO RICHMOND." 

This is a peculiar movement, giving the appearance 
to the skater of making a futile endeavor to go for- 



34 



ward while going backward and vice versa. The 
backward movement is executed as follows : — 

I. Stand erect ; lift the 
right foot clear of the floor ; 
twist the toe of the right 
out to its greatest extent ; 
cross it over in front of and 
as far across the left foot as 
possible and cut across in 
front of and to the left of 
the left foot, letting the 
weight of the body fall 
upon the right and draw- 
ing the left foot out from 
behind the right. 

II. Raise the left foot, 
turning the toe out, cross 
it over in front of the right, 
allowing the weight of the 
body to come upon the out- 
side edge of the left foot. 

The reverse movement 
brings into action the 
change of edge glide for- 
Stand with the 
weight of the body resting 
upon the left foot ; place the right behind and across 
the left, the toe cut well in on the outside edge of the 
skate, at the same time letting the weight of the body 




Reverse "On to W oWl 
Richmond. 1 ' waia ' 



35 

fall upon the right foot and, after gliding some ten 
or twelve inches upon the outside edge of the right, 
change quickly by the swing of the balance foot and 
leg to the inside edge of the same skate and glide the 
same distance as upon the outside edge ; then cut in 
the left foot behind the right and continue the move- 
ment. 

44 LOCOMOTIVES." 

The locomotive movement upon skates is a very 
peculiar step and is so called because of the noise 
made in its performance, although it may be done 
either noisily and rapidly or slowly and quietly, and 
still be a perfect locomotive. They are divided into 
two classes, namely, single and double, and are done 
both forward and backward. 

The "Single Locomotive " forward is done by per- 
forming a serpentine upon the right foot, which re- 
mains upon the floor, propelling with the left foot 
behind, which cuts first to the right side and then to 
the left side of the right foot, raising the left foot after 
each cut across and behind the right. 

The " Single Locomotive " backward is done as fol- 
lows : 

I. Stand with the weight of the body principally 
upon the left foot, the right well in front with the toe 
turned in, the inside edge of the skate resting upon 
the floor. 



36 



II. Force the right foot to describe an arc on the 
inside edge, then carry it over behind the left and 
place it upon the ice on the outside edge and on 

this edge force it to 
describe an arc, then 
continue as on the 
start. 

The ' ' Double Loco- 
motive " forward is 
done by making the 
movement as in the 
"Single," and after 
having made the push 
on each side, turn 
around and make the 
left foot describe a 
serpentine while the 
right is the propelling 
power. Make the two 
pushes with the right, 

turn again and con- 
Serpentine. Serpentine " S." .. 

tmue. 

The "Double Locomotive" backward is done the 
same as the " Single " with the difference of alternat- 
ing the feet, first making the right describe the two 
arcs, then the left and continue. 

"SERPENTINES." 
There are two classes of serpentines, namely, the 




37 

"two foot serpentines" and the "one foot serpen- 
tines." Of the "two foot serpentines" there are 
four, namely : — 

First, Plain Serpentine forward, right foot lead- 
ing. This movement is done principally by the swing 
of the body. Start with the right foot directly in ad- 
vance of the left, pointing the forward foot a little to 
the right, and by leaning the body to the right the 
skater will make a curve to the right ; then throw 
the body in the opposite direction, 
pointing the right foot in, and a 
curve will be made to the left, 
the two curves forming a serpen- 
tine. 

Second, Plain Serpentine for- 
ward, left foot leading. This 
movement is the same in effect 

,, t !• in ± Serpentine in Circle. 

as the preceding, excepting that 

the left foot leads. The third and fourth are the 

same, but done backward. 

Of the " one foot serpentines," there are four, 
namely : — 

I. Right foot forward. 

IT. Left foot forward. 

III. Right foot backward. 

IV. Left foot backward. 

First. Right foot. Start on the "outside edge 
glide " on the right foot, changing from the outside 
to the inside edge, the same as in the ' ' change of edge 




38 
glide," making a curve on the inside edge. At the 



Single Changes 
of Edge. 



Changes of Edge, 
Double. 



Changes of Edge 
with " three" turn. 



end of the curve change to the outside edge in the 



39 

same manner as the change in the " change of edge 
glide forward," starting on the inside edge. 

Second. Left foot. Done in the same manner as 
on the right with the substitution of the left for the 
right foot. The third and fourth are the same as the 
foregoing, but done backward. The "Serpentines" 
may also be done in a circle. 

CHANGES OF EDGE, SINGLE AND DOUBLE. 

The single changes of edges differ from the change 
of edge glide simply in stopping after the two edges 
have been completed. Of the single changes four 
are done on the right, and each must be done with a 
separate start. They are : — 

First, Outside to inside edges, forward, right foot. 

Second, Inside to outside edges, forward, right 
foot. 

Third, Outside to inside edges, backward, right 
foot. 

Fourth, Inside to outside edges, backward, right 
foot, and the same on the left foot backward and for- 
ward. 

Of the "Double Changes of Edge" there are six- 
teen, namely, eight plain and eight with a turn at 
the end of the second curve. The plain movements 
differ from the single changes of edge only in execut- 
ing tico curves instead of one. Four of these for- 
ward, two on each foot, starting outside and inside 
edges, and the same backward. 



40 



t 



Grape-Vine. 



CHANGES OF EDGE, DOUBLE 
WITH TURN. 
These are done by making the two 
edges forward and turning, as in the 
" figure three," making the two back- 
ward edges. To make eight of these 
start in the eight different ways set 
down for the plain movements. 

GRAPE VINES. 

By many the grape vine is con- 
sidered the acme of skating, and he 
who can skate the "Philadelphia 
Twist " is generally accounted capa- 
ble of executing any movement upon 
skates. It is an attractive and showy 
step, and is susceptible, with a high 
degree of art, of being made graceful 
if rapidly done, while it is deemed 
necessary to the accomplishments of 
a good skater. 

I. Start with the feet about four- 
teen inches apart, the toes slightly 
turned in. 

II. Slide the right foot in advance 
of the left, crossing a little over it. 

III. Turn from forward to back- 
ward, but instead of turning in the 
direction your body would naturally 



41 



turn, namely, from 
right to left, turn in 
the opposite direction, 
from left to right; 
and instead of allow- 
ing the left foot to 
lead, as it has a tend- 
ency to do, make the 
right foot lead and 
cross the left. 

IV. Turn from back- 
ward to forward, left 
to right, making the 
right foot lead again, 
and you are in the 
same position as at the 
start. Continue this 
movement and you 
will have performed 
the u grape vine." 
Practice it until per- 
fect, and throiv into 
it all the grace possible. 

THE PHILADELPHIA 
TWIST VINE. 

There are two of 
these, namely, the 
Single and the Double. 
To do the single move- 
ment start backward 



i 




Philadelphia 
Twist Vine. 



Philadelphia Twist 
Vine, Double. 



42 

and allow the feet to slide a little way apart ; then 
draw them together and cross the right foot well over 
in front of the left, the left foot leading, and while in 
this position turn the right foot from backward to 
forward, making a short cut on the outside edge. On 
this cut the right foot leads. Then turn from for- 
ward to backward, and let the left foot again lead, 
and continue, remembering to cross the feet before 
every turn, from backward to forward. 

The Double Philadelphia Twist Vine. Start the 
same as in the single, but instead of going only half 
way around make the complete revolution, then start 
with the left foot the same as first starting on the 
right and continue. 

THE "FLYING SCUD." 

This movement is done by two persons who join 
hands facing each other, one skating backward and 
the other forward. 

I. Start on the outside edge glide, the skater going 
forward, on the left foot, and the one going backward 
on the right foot. 

II. The skater going forward changes to right, and 
the one going backward to left foot, both on the out- 
side edge, at the end of which curves each executes a 
"figure three," the forward person then going back- 
ward and the backward one going forward. 

III. This brings both skaters on the inside edge, 



43 

which must be a short curve, changing from this edge 
to the outside edge of the other foot. The forward 
person will then go through the same movement 
which the other has completed, and continue at 
pleasure. 

This is a field step and closely resembles the follow- 
ing: 

THE MERCURY. 

This, like the " Flying Scud, 1 ' may be done only by 
two persons, as follows : 

I. Join hands, one skating backward and the other 
forward. 

II. The one going forward starts on the " cross 
glide forward," left foot, the partner starting on the 
" cross glide backward," right foot. 

III. The skater going forward crosses the right foot 
over the left, describing a curve on the outside edge 
of the right, the partner doing the same backward on 
the left foot. 

IV. At the end of the curve both turn a " three." 

V. The skater going forward changes to backward, 
and the other changes to forward, each gliding on 
the outside edge. The one going forward then goes 
through the same movements as the partner did on 
the start. 

The " Mercury " is oftentimes done with a jump 
clear of the ice at the turning of the " three." 



44 

Following are a number of diagrams of combina- 
tions of movements. The skater who has mastered 
the movements thus far described has no need to be 
advised how the following are done; he simply needs 
the diagrams for his guidance. 



45 







46 




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